This study explores Kosovan teachers’ identities, beliefs, self-reported practices and perceived needs, concerning the interface of music, society and education. It does this at a time when the newly independent country is emerging from war and establishing an education system, of which music forms an important part. The discussion takes a social constructivist viewpoint, whereby music learning and teaching are understood in relation to the historical, political and cultural contexts of the society in which they occur. The focus of the investigation is on the current practical and theoretical situation faced by music education in Kosovo. This is approached through the voices of music teachers, all of whom belong to the Albanian-majority ethnic group in Kosovo (92%), which was subject to political oppression and acculturation under the former Serb regime until the Kosovan war ended in 1999. Using an ‘explanatory mixed methods design’ (Creswell, 2003, p. 15) a questionnaire survey was conducted with 204 teachers falling into two main, very different, groups – generalists and specialists – across all regions of Kosovo. The survey was followed up with semi-structured interviews of 16 individuals, selected as representative of each of the two main groups. The study investigated issues within and across each group, concerning: i) the teachers’ musical identities in relation to Kosovan history, culture and Albanian ethnicity; ii) their beliefs about the role of music and music education in Kosovan society; iii) their self-reported music teaching practices and iv) their perceived needs and opportunities for professional development. Similarities and differences between the two groups were found to be of potential importance in the future development of music education. In addition, the findings reveal serious challenges faced by Kosovan music teachers, who find themselves trapped between traditional musical values, styles and practices on one hand, and modern, Western music ideologies present in the newly developing music curriculum. Finally, the thesis offers some concrete recommendations to the relevant institutions in Kosovo, aimed at furthering and supporting the development of the new music curriculum.